SHIVAJI UNIVERSITY, KOLHAPUR CENTRE FOR DISTANCE EDUCATION Literary Criticism and Critical Appreciation (Special English) B. A. Part-III (Semester-V Paper-VII (Academic Year 2015-16 onwards)
Unit-1 Classical Criticism Contents 1.0 Objectives 1.1 Introduction 1.2 Presentation of Subject Matter 1.2.1 Mimesis 1.2.1.1 Check Your Progress 1.2.2 Catharsis 1.2.2.1 Check Your Progress 1.2.3 Hamartia 1.2.3.1 Check Your Progress 1.3 Summary 1.4 Terms to Remember 1.5 Answers to Check Your Progress 1.6 Exercises 1.7 Further Reading 1.0 Objectives After studying this unit you will be able to understand Plato s theory of Mimesis Aristotle's theory of Mimesis Aristotle's theory of Catharsis Aristotle s concept of Hamartia 1
1.1 Introduction The critical enquiry had begun almost in the 4th century B.C. in Greece. Plato, the great disciple of Socrates, was the first critic who examined poetry as a part of his moral philosophy. Plato s critical observations on poetry lie scattered in The Ion, The Symposium, The Republic and The Laws. In The Ion, he advocated poetry as a genuine piece of imaginative literature, but in The Republic which is a treatise on his concepts of Ideal State, he rejected poetry on moral and philosophical grounds.plato was a great moral philosopher. He was mainly concerned with inducing moral values in the society and seeking the ultimate Truth. For him, poetry is immoral and imitative in nature. On the other hand, Aristotle, the most distinguished disciple of Plato, was a critic, scholar, logician and practical philosopher. He is known for his critical treatises: (i) The Poetics and (ii) The Rhetoric, dealing with art of poetry and art of speaking, respectively. Aristotle examines poetry as a form of art and evaluates its constituent elements on the basis of its aesthetic beauty. Aristotle actually observed the then available forms of literature and analyzed them and codified the rules. In his work he has described the characteristics of Tragedy, Comedy and Epic in elaborative manner. Classical criticism views the literary work as an imitation, or reflection, or representation of the world and human life. The primary criterion applied to a work is that of the truth of its representation to the subject matter that it represents, or should represent. In his Poetics (fourth century B.C.), Aristotle defines poetry as an imitation (in Greek, mimesis) of human actions. The poem takes an instance of human action and represents it in a new medium, or material that of words. Aristotle distinguishes poetry from other arts in terms of the artistic media, the kind of actions imitated, and in the manner of imitation (for example, dramatic or narrative). He also makes distinctions between the various poetic kinds, such as drama and epic, tragedy and comedy. Aristotle s Poetics provides a classic analysis of the form of tragedy. His analysis is based on the tragedies of Greek dramatists such as Aeschylus, Sophocles, and Euripides. Aristotle defined tragedy as follows; Tragedy, then, is an imitation of an action, that is serious, complete and of a certain magnitude, in language 2
embellished with each kind of artistic ornament, several kinds being found in separate parts of the play, through pity and fear effecting the proper catharsis or purgation of these emotions." Aristotle further says that the tragic hero will evoke both pity and fear if he is neither thoroughly good nor thoroughly evil but a mixture of both; and also that the tragic effect will be stronger if the hero is of higher than ordinary moral worth. Such a man suffers a change in fortune from happiness to misery because of a mistaken act, to which he is led by his hamartia his error of judgment. In this unit we are going to study the literary terms like mimesis, catharsis and hamartia used by the classical critics, Plato and Aristotle. 1.2 Presentation of Subject Matter 1.2.1 Mimesis Mimesis is one of the most discussed terms in Aristotle s Poetics. It was first used by Plato in Republic. Plato has used it in connection with poetry. Mimesis means copying something as it is. Plato was of the opinion that 'poetry (literature) imitates'. It is mere copying of the appearances of things, actions and behaviors of people around. Later on, Aristotle interpreted it in the Poetics and gave it a comprehensive meaning. Plato's Theory of Mimesis: Plato, in his book Republic, Chapter X, has used the term 'mimesis' or imitation for the first time. In it, he makes a difference between useful arts and 'imitative arts'. The useful arts like medicine, agriculture etc. serve our immediate needs; whereas, imitative arts like painting, dancing or poetry do not have such utility. They are called the fine arts. Plato was of the view that all the fine arts are imitative. They are a copy, a representation of something. They copy some ideas, appearances of things in the world outside. Poetry, being a fine art also imitates such ideas. Plato considered poetry to be 'imitative', a copy of copy, a shadow of shadow. He claimed that poetry is unreal and is away from reality. It is only a replica, a blind imitation of the ideas. While expressing such views on poetry, Plato gave the example of 'bed'. When a carpenter makes a bed out of wood, he works on the basis of the Idea of bed. It is the 3
idea that is real and the bed is an imitation of it. It is a copy of the original idea. Plato believed that Ideas are made by God, the Creator. When a painter paints the picture of a bed, he takes the idea from the bed made by carpenter. Thus the painted bed is the copy of a copy. It is an imitation of an imitation and it is twice removed from reality. Plato applied the same theory to poetry (i. e. literature) also. When a poet presents the world in poetry, he takes inspiration from the outward appearance of the world. The poets' world is a copy of the world in which he lives. It is thus a replica, blind imitation, a copy of a copy. Thus, Plato declared poetry to be unreal, twice or thrice removed from reality. There is nothing creative as such but is imitative. In this way, the theory of imitation first appeared in Plato's Republic. He considered imitation to be a photographic replica and a blind imitation. He thought that there is nothing original and creative in it. In this way, in the course of argument, Plato turned to be a critic of poetry. He declared poetry to be 'the mother of lies'; he even denied any place to the poets in his ideal state. Such was Plato's theory of imitation. He criticized arts and even poetry on several grounds. At the same time, it must be taken into account that Plato's remarks were made in a particular context. Plato himself was a man of poetic merits. He was aware of the role of arts in human life. But he was an idealist and had a dream of moulding ideal citizens for republic. Hence, he considered poetry to be unsuitable for his purpose. Aristotle's Theory of Mimesis: There is no doubt that Aristotle inherited the word 'mimesis' from Plato. In the Poetics, Aristotle has expressed his theory of mimesis. It is in chapters I to IV. Aristotle added a new meaning, a new dimension to Plato s concept. He expanded and made it comprehensive. Aristotle s Poetics is an indirect answer to Plato. Aristotle breathed a new life, a new spirit in the theory of mimesis. He proved that poetry is not a servile copy, a blind imitation but a process of creation. Aristotle considers mimesis/imitation to be the common principle of all fine arts. The term 'fine arts' includes poetry, comedy, tragedy, dancing, music, flute playing, painting and sculpture. All of them imitate something. Thus Aristotle agrees with Plato s theory in principle. He agrees that imitation is the common principle of all arts. At the same time, he differs from Plato by including music in the imitative arts. 4
It clearly shows that Aristotle's theory of imitation is wider than that of Plato. The musician imitates not the outward form of appearances, but he presents the inward world of human feelings, passions and emotions. It is the inner life of man. Other arts like painting, dancing etc. also imitate something. It is the common basis of all arts, but there are differences too. All the arts differ from one another in three ways. They have different 'mediums or means' of imitation. They differ in their objects of imitation. Finally, their manners or modes of imitation are also different. In this way, the mediums, the objects and the manners of imitation make differences among arts. I) Mediums or Means of Imitation: Some mediums of imitation are form, colour and sounds. Music uses rhythm, language and harmony. Poetry uses the medium of language. II) The Objects of Imitation: The objects of imitation or representation are 'human beings'. These are the men performing or experiencing something. They may be either good or bad. It means that the arts represent human beings, either better or worse than they really are. Thus, the objects of imitation are different in each art. In poetry, some poets present men better than reality or as they are. They may be presented lower than the reality. It is the basic difference between tragedy and comedy. Tragedy presents men 'better' than reality, whereas comedy presents them in the lower mode. Thus, the objects of imitation differ in various arts. For Aristotle, imitation was not limited to outward appearance only. It was the reproduction of human nature and actions. It is a creative process. III) The Manner of Imitation: Different arts imitate objects in different manners. There may be three modes of it. First, the poet may use the mode of narration throughout. Secondly, he may use narration as well as dialogues by characters. We find such mode in Homer's poetry. Lastly, a poet may represent the whole story in a dramatic manner. It is in the form of action. For Aristotle, the manner of imitation helps us to classify poetry into epic, narrative and descriptive types. The dramatic poetry is further divided in tragedy and comedy on the basis of their objects of representation. This classification prepares 5
the ground for further discussion of tragedy in later chapters. In this way, poetry differs from all other arts on the basis of medium, objects and manner of imitation. IV) The Origin and Development of Poetry: Aristotle traces the origin and development of poetry in human life. The discussion is concentrated on dramatic poetry. Aristotle considers that the origin of poetry lies in two natural instincts. First, it is the natural human impulse to imitate things. Such impulse is found even in children. Secondly, it is in the delight in recognizing and appreciating a good imitation. It helps to appreciate even ugly objects, if imitated well. Then there is the instinct of getting pleasure in harmony and rhythm. Poetry grew out of these natural instincts. Poetry, later on, developed into two directions, according to the personal characters of the poets. Some poets with serious spirits represented noble personages and their actions. They composed panegyrics and hymns to the gods. On the other hand, poets with lighter spirits presented frivolous characters with trivial actions. These were the comedies and satires. Aristotle considers Homer to be the unique poet who shared in both the tendencies. Imitation - a Creative Process: Aristotle thus took the term 'mimesis' from Plato. He gave it a wider significance and a new implication. Plato considered poetry/literature merely a replica, a blind copying. For Aristotle, it was an act of creative vision. No doubt, a poet takes his material from the phenomenal in the world, but he makes something new out of it. A poet may deal with the facts from the past, from the established beliefs or with the unrealized ideals. He transforms them into some universal and permanent characteristics of human life. Poetic imitation thus involves a creative faculty. It is the transformation of material into an art. Aristotle asserts: "It is not the function of the poet to relate what has happened but what is possible according to the law of probability or necessity". Poetry is thus more philosophical than history. Aristotle refuted the charge against poetry being a 'mother of lies'. He brought out the higher truth involved in it. Poetry is an act of creative vision. Imitation, to Aristotle, was none other than re-creation'. 6
1.2.1.1 Check Your Progress: A) Answer the following by choosing the correct alternative given below each question: 1) Aristotle's Poetics was an answer to... a) Sidney's 'An Apology for Poetry' b) Shelley's 'A Defense of Poetry' c) Plato's Republic d) Chaucer's The Canterbury Tales 2) The Poetics is mainly concerned with... a) Comedy b) Poetry c) Epic d) Tragedy 3) The common principle of all fine arts is that... a) they give us pleasure b) they imitate something c) they are useful to us d) they are of no use 4) Tragedy is an imitation of... a) action b) people c) life d) world 5) The term mimesis was first used by ----- a) Philip Sidney b) P. B. Shelley c) Plato d) Chaucer B) Answer the following questions in one word/phrase/sentence. 1) What was Plato s interpretation of imitation? 2) Aristotle admits that poetry is imitation. But there is something more. What is it? 3) Why did Plato banish poets from his ideal Republic? 4) Where did Plato use the term mimesis? 5) Which Greek word is represented imitation in English? 7
1.2.2 Catharsis Introduction Aristotle's Poetics is a celebrated work of literary criticism. It is basically an answer to Plato s Republic. The Poetics is about the art of poetry in general, but it mainly focuses epic and tragedy. There are 26 chapters in all, out of which 14 are devoted to tragedy only. So it is clear that Aristotle gave much importance to tragedy in it. It is because epic and tragedy were considered to be the ideal forms of literature in the ancient age. Hence the Poetics concentrates on tragedy, in particular. Aristotle's views on catharsis are found in chapters VI and XIV of the Poetics. While defining tragedy, Aristotle uses the word catharsis for the first time. The Theory of Catharsis: 'Catharsis' or 'Katharsis' is perhaps the most debated term in literary criticism, all over the world. It is a word of Greek origin. Aristotle used it only once, in chapter VI of the Poetics. Unfortunately he himself has not explained it anywhere. Hence it gave birth to divergent interpretations and explanations. Aristotle used the term 'catharsis' while defining tragedy. He used it in connection with the emotional effect of the tragedy on the spectators. Thus for Aristotle, catharsis meant the effect or the function of tragedy. Before studying it in detail, it is necessary to understand that Aristotelian theory of tragedy was framed to be an answer to Plato s charge that 'poetic drama feeds and waters the passions, instead of starving them, and as such encourages anarchy (disturbance) in the soul'. Aristotle, on the other hand, believed that poetry does not create disturbance in human mind but provides proper expression to emotions in a regulated manner. Thus poetic drama provides proper channelization of emotions. Aristotle's views on 'catharsis' are found in chapters VI and XIV of the Poetics. The Place of Pity and Fear in Catharsis: The terms pity and fear are closely associated with Aristotle's theory of catharsis. There are different types of fears in human life. Fear may be centered on an individual or it may be at collective or society level also. It may arise due to some vague feeling of danger, insecurity or anxiety. It may occur because of some awful, 8
disastrous or inexplicable event in life. It may come because of the sense of guilt due to some error committed. All these forms of fear are well expressed in a tragedy. Pity is occasioned by some undeserved misfortune. It is a sort of pain for one who comes across some destructive evil, even if he doesn't deserve it; we pity someone who is suffering because of a misfortune. We feel pity for others, at the same time we fear for ourselves, if we are placed in those circumstances. Thus, pity and fear are closely related emotions. Different Interpretations of Catharsis: Aristotle in his famous definition of tragedy has used the term 'catharsis'. He has used it to suggest the effect or the function of tragedy. It is a Greek word and Aristotle himself has not provided any explanation of it. Naturally, it gave way to different explanations and interpretations in the world of literature. The term has been interpreted by different critics in different ways. They have different opinions regarding the exact meaning of the term. Each critic takes some aspect of it into consideration. The traditional critics have emphasized the emotional aspect of catharsis, whereas the modern critics analyse it from the intellectual point of view. Scholars have suggested religious, moral, medical, psychological and aesthetic interpretations of it. There are three common interpretations of catharsis. They are 'purgation, purification and clarification'. Now, let us examine them in detail. 1) The Purgation Theory: The purgation theory interprets catharsis in medical terms. It is a medical metaphor. In medical terms (especially in the older sense), purgation meant the removal of excess or unnecessary elements from body. The health of body depends upon a true balance of all elements. If they are in excess, it is suggested to provide an outlet. In the same way, the excess or unhealthy passions also need to be purged. Catharsis is thus a process of purgation to such unhealthy emotions. Tragedy arouses emotions of pity and fear. Then it provides an outlet. The excessive emotions are purged, removed away from mind. It helps to create an emotional balance. A calmness of mind is maintained. Purgation thus denotes the pathological effect on the mind comparable to the effect of medicine on body. This theory was advocated by critics like Milton, Twining and Barney. 9
Some critics interpreted catharsis as a homeopathic process. They thought it to be a case of 'like curing like'. A little substance of some element cures the body of an excess of the same thing. To support this, these critics refer to some passages by Aristotle in the Politics and the Poetics. These passages describe the effect of music on body and some religious frenzy, calmed down by the same things. Neo-classical critics like Dryden interpret it in the opposite way. They consider catharsis in allopathic way of 'like curing unlike'. According to this method, the arousing of pity and fear was supposed to bring about the purgation of other emotions such as anger, hatred, pride etc. It is the process of feeding and watering of unhealthy emotions. Purgation is thus a major explanation of catharsis. Sigmund Freud, a modern psychoanalyst, also supports this theory. He said, "by helping patients to recall their painful childhood experiences, neurosis can be cured." 2) The Purification Theory: Another interpretation of catharsis is purification. Some critics like Humphrey House rejected the purgation theory in the medical sense of the term. They criticized that 'theatre is not a hospital and the audience are not patients'. Humphrey House advocated the purification theory, which means 'moral learning, moral instructing or moral conditioning of mind'. It is the idea of cleaning or cleansing of the soul. Tragedy by arousing pity and fear brings back the soul to a balanced state. Tragedy thus trains and purifies the emotions and brings them to a balanced state. The emotions are directed towards the right objects, at the right time. In this way, we are made virtuous and good. The purification theory is related to soul as the purgation is related to body. Critics like Butcher, Corneille and Lessing have supported it. 3) The Clarification Theory: It is the third interpretation of catharsis. It is advocated by critics like Leon Golden, O. B. Hardison and G. E. Else. They think that Aristotle was mainly concerned with the intellectual effect and not the emotional effect of tragedy. Tragedy is concerned with the spectator's understanding of the events of plot. A tragedy presents some universal truths of human life through particular events and characters. Watching a tragedy gives us joy, pleasure. It is called the aesthetic pleasure. Aristotle himself has said, "if well imitated, pictures, even of corpse and ugly creatures, give us pleasure". Thus incidents like a person blinding himself, murdering his friend or a husband killing his wife, would horrify us in routine life. If 10
they are presented artistically, they provide delight, a sort of pleasure. It is this pleasure that tragedy gives. According to the clarification theory, catharsis becomes an indication of the function of tragedy, and not of its emotional effect on audience. It leads to an understanding of the universal law that governs the universe. Catharsis thus turns to be an intellectual process. Some Other Interpretations: Apart from these commonly accepted explanations, there are some other theories also. Some critics tried to give the psychological interpretation of catharsis. S. H. Butcher regards it as a refining process. He thinks that tragedy provides a process of reforming lower type of emotions into the refined ones. Another critic, Herbert Read considers catharsis to be a safety valve that provides outlet to excess emotions. It results in the feeling of emotional relief. I. A. Richards considers 'Pity as an emotion to approach, whereas fear is an emotion to retreat or withdraw. Tragedy brings these opposite emotions harmoniously together. It creates a balance, an equilibrium of mind. Conclusion: As Aristotle himself has not provided any explanation of catharsis, critics vary in interpretations. There is no agreement as to what Aristotle really meant. The theories like purgation and purification relate catharsis to the psychology of the audience. The clarification theory seems to be more acceptable because it focuses on the work of art and not the audience. It is to be noted that Aristotle was writing on the art of poetry and not on psychology of the audience. 1.2.2.1 Check Your Progress: A) Answer the following by choosing the correct alternative given below each question: 1) We got to see a theatre to witness a tragedy because ---------. a) we want education b) we need catharsis c) we seek entertainment d) we look for comfort 11
2) Purgation is basically a... term. a) literary b) psychological c) medical d) philosophical 3) As a homeopathic term, catharsis means ----------. a) purification b) sublimation c) purgation d) enjoyment 4) Aristotle argues that art is ------- than the reality or truth. a) something less b) something more c) something better d) something worse 5) ----- believed that neurosis can be cured by recalling painful childhood experiences. a) Sigmund Freud b) F. L. Lucas c) Carl Jung d) I. A. Richards B) Answer the following questions in one word/phrase/sentence. 1) Why are there so many interpretations of the term catharsis? 2) Where did Aristotle use the term catharsis? 3) Why, according to psychologists, do spectators go to the theatre? 4) On what principle is the purgation theory based? 5) On what occasion were the tragedies staged in Aristotle s times? 1.2.3 Hamartia: Hamartia, also called tragic flaw, (hamartia from Greek hamartanein, to err ), refers to an inherent defect or shortcoming in the hero of a tragedy, who is in other respects a superior being favoured by fortune. Aristotle introduced the term casually in The Poetics in describing the tragic hero as a man of noble rank and nature whose misfortune is not brought about by villainy but by some error of judgment (hamartia). This imperfection later came to be interpreted as a moral flaw, such as Othello s jealousy or Hamlet s irresolution, although most great tragedies defy such a simple interpretation. Most importantly, the hero s suffering and its far- 12
reaching reverberations are far out of proportion to his flaw. An element of cosmic collusion among the hero s flaw, chance, necessity, and other external forces is essential to bring about the tragic catastrophe. In Chapter XV of the Poetics, Aristotle deals with the art of characterization on an extended scale. He lists four essentials of successful characterization. Four Essentials of Characterization: i) The character must be good - A character is good, if his words and actions reveal that his purpose is good. In ancient Greece, women were considered as inferior beings and slaves as worthless. But Aristotle says that, when introduced in tragedy, even women and slaves must be shown to have some good in them. Entirely wicked characters, even though assigned minor roles, are unfit for tragedy. Wickedness may be introduced only when required by the necessities of the plot. Wanton introduction of wickedness must be avoided; and when introduced even wicked characters must be made good in some respects. Wickedness must be mixed up with some good as in actual life. In other words, Aristotle prefers complex characters. Just as a successful painter makes his portrait more beautiful than the original, in the same way the poet must represent his characters better and more dignified and must still preserve the likeness to the original. ii) The character must be appropriate - According to Aristotle the character must be appropriate, that is to say each character must be true to type or status. For example, a woman must be shown as womanly and not manly ; a slave must be given a character which is appropriate to his status. Manliness would not be appropriate in a woman, and dignity and nobility in a slave. If the characters are taken from some known myth or story, say the story of King Oedipus, and then they must be true to tradition. They must behave as King Oedipus is traditionally supposed to have behaved. In this respect, Aristotle had the practice of Greek dramatists in mind, who chose their tragic themes from history, myth, and other traditional sources. iii) Characters must have likeness The third essential of successful characterization is that characters must have likeness i.e. they must be like ourselves or true to life. In other words, they must have the virtues and weaknesses, joys and sorrows, loves and hatreds, likes and dislikes, of average humanity. Such likeness is essential, for we can feel pity only for one who is like ourselves, and only his 13
misfortunes can make us fear for ourselves. This in itself rules out perfectly good, or utterly wicked and depraved characters. Such characters will not be like us. They will be unreal and unconvincing. The characters must be of an intermediate sort, mixtures of good and evil, virtues and weaknesses like us. iv) The characters must be consistent - They must be true to their own natures, and their actions must be in character. Thus a rash, impulsive person should act rashly and impulsively. There should be no sudden changes in character. If the dramatist has to represent an inconsistent person, then he must be consistently inconsistent. Aristotle emphasizes the point further by saying that the actions of a character must be the necessary and probable outcome of his nature. He should act as we may logically expect a man of his nature to act, under the given circumstances. Just as the incidents must be casually connected with each other, so also the various actions of a character must be the necessary and probable consequences of his character, and the situation in which he is placed. They must be logically interlinked with his earlier actions, and must not contradict the impression produced earlier. The Ideal Tragic Hero: Having examined the art of characterization in general, Aristotle proceeds to examine the qualities which the ideal tragic hero must have. No passage in the Poetics, with the exception of the phrase catharsis, has attracted so much critical attention as his ideal of the tragic hero. The function of a tragedy is to arouse the emotions of pity and fear, and Aristotle deduces the qualities of his hero from this function. He should be good, but not too good or perfect, for the fall of a perfectly good man from happiness into misery, would be odious and repellent. His fall will not arouse pity, for he is not like us and his undeserved fall would only shock and disgust. Similarly, the spectacle of an utterly wicked person passing from happiness to misery may satisfy our moral sense, but is lacking in the proper tragic qualities. Such a person is not like us, and his fall is felt to be well-deserved and in accordance with the requirement of justice. It excites neither pity nor fear. Thus, according to Aristotle, perfectly good, as well as utterly wicked persons are not suitable to be heroes of tragedies. However, Elizabethan tragedy has demonstrated that, given the necessary skill and art, even villains, like Macbeth, can serve as proper tragic heroes and their fall can arouse the 14
specific tragic emotions. The wreck of such power excites in us a certain tragic sympathy; we experience a sense of loss and regret over the waste or misuse of gifts so splendid. Similarly, according to Aristotelian canon, a saint a character perfectly good would be unsuitable as a tragic hero. He is on the side of the moral order and not opposed to it, and hence his fall shocks and repels. However, his martyrdom is a spiritual victory and the sense of moral triumph drowns the feeling of pity for his physical suffering. The saint is self-effacing and unselfish, and so he tends to be passive and inactive. Drama, on the other hand, requires for its effectiveness a militant and combative hero. However, in quite recent times, both Bernard Shaw and T. S. Eliot have achieved outstanding success with saints as their tragic heroes. In this connection, it would be pertinent to remember that Aristotle s conclusions are based on the Greek drama with which he was familiar. In the same manner, he is laying down the qualifications of an ideal tragic hero; he is here discussing what is the very best, and not what is good. Having rejected perfection as well as utter depravity and villainy, Aristotle points out that the ideal tragic hero, must be an intermediate kind of person, a man not pre-eminently virtuous and just, whose misfortune, however, is brought upon him not by vice or depravity but by some error of judgment. The ideal tragic hero is a man who stands midway between the two extremes. He is not eminently good or just, though he inclines to the side of goodness. The tragic hero is not depraved or vicious, but he is also not perfect, and his misfortune is brought upon him by some fault of his own. The Greek word used here is hamartia. The root meaning of hamartia is missing the mark. He falls not because of the act of some outside agency or vice or depravity, but because of Hamartia or miscalculation on his part. Hamartia is not a moral falling, and hence it is unfortunate that it has been translated rather loosely as tragic flaw, as has been done by Bradley. Aristotle himself distinguishes hamartia from moral falling, and makes it quite clear that he means by it some error of judgment. He writes that the cause of the hero s fall must lie, not in depravity, but in some error or hamartia on his part. Butcher, Bywater, and Rostangi, all agree that hamartia is not moral state; but an error of judgment which a man makes or commits. However, as Humphrey House tells us, Aristotle does not assert or deny anything about the connection of hamartia with moral failings in the hero. 15
Thus, hamartia is an error or miscalculation, but the error may arise from any of the three ways: i) It may arise from ignorance of some material fact or circumstance, ii) It may be an error arising from hasty or careless view of the special case, iii) It may be an error voluntary, but not deliberate, as in the case of acts committed in anger or passion. Else and Martin Ostward, both critics interpret hamartia actively and say that the hero has a tendency to err, created by lack of knowledge, and he may commit a series of errors. They further say that the tendency to err characterizes the hero from the beginning (it is a character-trait) and that at the crisis of the play, it is complemented by the recognition scene (anagnorisis), which is a sudden change, from ignorance to knowledge. As a matter of fact, hamartia is a word which admits of various shades of meaning, and hence it has been differently interpreted by different critics. However, all serious modern Aristotelian scholarship is agreed that hamartia is not moral imperfection though it may be allied with moral faults that it is an error of judgment, whether arising from ignorance of some material circumstances. It may even be a character-trait, for the hero may have a tendency to commit errors of judgment, and may commit not one, but a series of errors. This last conclusion is borne out by the play Oedipus Tyrannus to which Aristotle refers again and again, and which may be taken to be his ideal. In this play, the life of the hero is a chain of errors, the most fatal of all being his marriage with his mother. If King Oedipus is Aristotle s ideal hero, we can say with Butcher that, his conception of hamartia includes all the three meanings mentioned above, which in English cannot be covered by a single term. Hamartia is an error, or a series of errors, whether morally culpable or not, committed by an otherwise noble person, and these errors drive him to his doom. The tragic irony lies in the fact that the hero may err innocently, unknowingly, without any evil intention at all, yet he is doomed no less than those who are depraved and sin consciously. He has hamartia; he commits error or errors, and as a result his very virtues hurry him to his ruin. Says Butcher, Othello in the modern drama, Oedipus in the ancient, are the two most conspicuous examples of ruin wrought by characters, noble indeed, but not without defects, acting in the dark and, as it seemed, for the best. 16
1.2.3.1 Check Your Progress. A) Answer the following by choosing the correct alternative given below each question: 1) The root meaning of hamartia is ------. a) fixing the target b) missing the mark c) finding fault d) right choice 2) According to Bradley, hamartia is ---------. a) tragic flaw b) justice c) fortune d) right dicision 3) Butcher and Bywater believe that hamartia means --------. a) a missing of mark b) misfortune of hero c) an error of judgment d) all of these 4) Hamartia is not --------. a) moral falling b) ideal truth c) universal truth d) none of these 5) Aristotle used the word hamartia for ---------. a) villain b) ideal tragic hero d) heroine d) none of these. B) Answer the following questions in one word/phrase/sentence. 1) How should be the tragic hero, according to Aristotle? 2) What is the root meaning of hamartia? 3) What is the meaning of hamartia according to Else and Martin Ostward? 4) What is the meaning of anagnorisis? 5) Who believes that hamartia is not moral state; but an error of judgment which a man makes or commits? 17
1.3 Summary: Aristotle took the term 'mimesis' from Plato. He gave it a wider significance and a new implication. Plato considered the process of poetic creation merely a replica, blind copying. For Aristotle, it was an act of creative vision. No doubt, a poet takes his material from the phenomenal world, but he makes something new out of it. A poet may deal with facts from the past or the present, from the established beliefs or with the unrealized ideals. He transforms them into some universal and permanent characteristics of human life. Poetic imitation thus involves a creative faculty. It is the transformation of material into an art. Aristotle asserts, "it is not the function of the poet to relate what has happened but what is possible according to the law of probability or necessity". Poetry is thus more philosophical than history. Aristotle refuted the charge against poetry being a 'mother of lies'. He brought out the higher truth involved in it. Poetry is an act of creative vision. Imitation, to Aristotle was none other than re-creation'. The function of tragedy is catharsis. Aristotle himself has not provided any explanation of catharsis, so critics vary in interpretations. There is no agreement as to what Aristotle really meant. The theories like purgation and purification relate catharsis to the psychology of the audience. The clarification theory seems to be more acceptable because it focuses on the work of art and not the audience. It is to be noted that Aristotle was writing on the art of poetry and not on psychology of the audience. Hamartia is a word which admits of various shades of meaning, and hence it has been differently interpreted by different critics. However, all serious modern Aristotelian scholarship is agreed that hamartia is not moral imperfection though it may be allied with moral faults that it is an error of judgment, whether arising from ignorance of some material circumstances. It may even be a character-trait, for the hero may have a tendency to commit errors of judgment, and may commit not one, but a series of errors. 1.4 Terms to Remember: Mimesis: copying something as it is disciple: student treatise: a written work dealing formally and systematically with a subject. 18
Dithyrambic: Greek religious song sung to Dionysus, originally sung by a single person. Catharsis: a Greek word indicating the effect of tragedy. anarchy: disorder magnitude: length language embellishments: ornaments of language aesthetic pleasure: joy concerned with beauty and appreciation inexplicable: that cannot be explained Hamartia: missing the mark or tragic flaw Anagnorisis: a sudden change, from ignorance to knowledge. 1.5 Answers to Check Your Progress 1.2.1.1 A) 1) Plato's 'Republic' 2) Tragedy 3) They imitate something 4) action 5) Plato B) 1) All art is imitation twice removed from reality. 1.2.2.1 2) Imagination 3) Because he thought that poetry aroused passions that darkened the reason 4) In his book,the Republic. 5) Mimesis A) 1) seek entertainment 2) medical 3) purgation 19
4) something more 5) Sigmund Freud B) 1) It is because Aristotle did not explain it in The Poetics. 1.2.3.1 2) In the definition of tragedy. 3) The spectators go to the theatre for enjoyment and this enjoyment gives them relief from their pent up feelings or emotions. 4) On the Homeopathic principle of Like cures like. 5) During the festival of Dionysus. A) 1) missing the mark 2) Tragic flaw 3) An error of judgment 4) Moral falling 5) Ideal tragic hero B) 1) He should be good, but not too good or perfect, for the fall of a perfectly good man from happiness into misery, would be odious and repellent. 2) The root meaning of hamartia is missing the mark. 3) Both critics interpret hamartia actively and say that the hero has a tendency to err, created by lack of knowledge, and he may commit a series of errors. 4) It is a sudden change, from ignorance to knowledge. 5) Butcher, Bywater, and Rostangi, 1.6 Exercises: 1) Write a critical note on Aristotle's theory of mimesis and compare his views with those of Plato? 2) 'Poetry is not a slavish imitation but is a creative process'. Explain the remark in the context of Aristotle's theory of imitation. 20
3) What, according to Aristotle, is the proper pleasure of tragedy? How does tragedy achieve its ends? 4) What different theories have been advanced to explain Aristotle's concept of catharsis? 5) What are the different characteristics of an ideal tragic hero? 1.7 Further Reading: 1) Butcher, S. H. (1894) Aristotle's Theory of Poetry and Fine Arts. London: Macmillan. 2) Bywater, Ingram. Aristotle on the Art of Poetry. London: Oxford University Press. 3) Fyfe, Hamiton. (1940) Aristotle's Art of Poetry. London: Oxford University Press. 4) Verma, C. D. (1973) Aristotle's Poetics. New Delhi: Aarti Book Centre. 5) Sen, S. (1979) Aristotle's Poetics. New Delhi: Unique Publishers. 6) House, Humphrey. (1988) Aristotle's Poetics. New Delhi: Kalyani Publishers. 21
Unit-2 Neo-Classical Criticism Contents 2.0 Objectives 2.1 Introduction 2.2 Presentation of Subject Matter 2.2.1 Reason and Judgement 2.2.1.1 Check Your Progress 2.2.2 Irony 2.2.2.1 Check Your Progress 2.2.3 Satire 2.2.3.1 Check Your Progress 2.3 Summary 2.4 Terms to Remember 2.5 Answers to Check Your Progress 2.6 Exercises 2.7 Further Reading 2.0 Objectives After studying this unit you will be able to: explain the salient features of Neo-Classical Criticism understand the major concepts such as reason and judgement understand the concept of irony understand the concept of satire 22
2.1 Introduction Like literature, criticism has a long tradition that may refer back to Socrates, Plato, and Aristotle. You have studied Aristotle s theory of poetry in the earlier unit. Aristotle focused on tragedy in his Poetics and laid emphasis on the concepts like mimesis, catharsis, hamartia, etc. After the study of Classical Criticism, let us try to understand the Neo-Classical Criticism in this unit. The English Neo-Classical movement was derived from both classical and contemporary French models. Boileau's L'Art Poetique (1674) and Pope's "Essay on Criticism" (1711) both provide us critical statements of Neo-Classical principles. The movement embodied a group of attitudes toward art and human existence ideals of order, logic, accuracy, correctness, restraint, decorum, and so on. It encouraged the artists to imitate or reproduce the structures and themes of Greek or Roman originals. Neo-Classicism dominated English literature from the Restoration in 1660 until the end of the eighteenth century. To a certain extent Neo-Classicism represented a reaction against the Renaissance view of man as a being fundamentally good and possessed of an infinite potential for spiritual and intellectual growth. Neo-Classical theorists, by contrast, saw man as an imperfect being, inherently sinful, whose potential was limited. The Renaissance emphasized imagination, invention, experimentation, and mysticism. The Neo-Classical theorists, however, enphasized order and reason, restraint, common sense, and religious, political, economic and philosophical conservatism. They maintained that man himself was the most appropriate subject of art. They saw art itself as essentially pragmatic, valuable because it was somehow useful and as something which was properly intellectual rather than emotional. Hence they gave importance to proper subject matter. They made an attempt to subordinate details to an overall design. And they employed in their work concepts like symmetry, proportion, unity, harmony, and grace. The Neo-Classical period in England spans the 140 years or so after the Restoration of Charles II in 1660. The Neo-Classical Criticism is divided into two phases. The first phase covers the Restoration Age from 1660 to 1700 where Neo- Classicism was liberal and moderate. John Dryden was the leading figure of this age. The second phase covers the first six or seven decades of the 18 th century where Neo- Classical Criticism becomes more and more narrow, slavish and stringent. Pope, 23
Addison and Dr Johnson were the prominent critics of this phase. Matthew Arnold called the Neo-Classical Age as our excellent and indispensable eighteenth century. Yet this school of criticism is known to us by various names. Firstly, it is called the Restoration Age because King Charles II was restored to the throne of England. Secondly, it is called the Augustan Age because the writers of the period believed that their age was the golden age of English literature like the age of Emperor Augustus whose period was the golden age of Latin literature. Thirdly, it is also called the Classical Age as the epithet Classical refers to creative writers of outstanding works of the highest merit. The writers of this period believed that the works of the writers of Classical Antiquity (Latin writers) presented the best models and ultimate standards of literary taste. The principle of classicism is best expressed by Pope in his poetry. But the Neo-Classical Critics misunderstood and wrongly interpreted the so-called rules. Lastly, this period is named as a Pseudo-Classical or Neo-Classical Age because classicism of this period is different from the classicism of ancient Greece and Rome. The works of this period lack inspiration or emotion that differentiates true classics. 2.2 Presentation of the Subject Matter 2.2.1 Reason and Judgement The Neo-Classical Age is also called the Age of Reason because the classical ideals of order and moderation inspired this period. This period has limited aspiration and its emphasis is on the common sense of society rather than individual imagination. All this can be characterized as rational. Reason had traditionally been assumed to be the highest mental faculty, but in this period many thinkers considered it a sufficient guide in all areas. Both religious belief and morality (judgement) were grounded on reason: revelation and grace were de-emphasized; morality consisted of acting rightly to one s fellow beings on this earth. The most famous philosopher of the age, John Locke, analyzed logically how our minds function. He argued for religious tolerance and mentioned that government is justified not by divine right but by a social contract that is broken if the people s natural rights are not respected. As reason should guide human individuals and societies, it also directs artistic creation. Neo-Classical art is not meant to seem a spontaneous outpouring of emotion or imagination. A work of art should be logically organized and should advocate rational norms. 24
The literature of the Neo-Classical period marked the breaking of ties with the Elizabethan literature. The spirit of the Neo-Classical literature was very much different from the spirit of the Elizabethan literature. There was gradual change in the tone of literature and in the temperaments of writers. Literature became intellectual rather than imaginative or emotional. The new spirit was all critical and analytical instead of creative and sympathetic. The merits of new school were found in its intellectual force and actuality. Thus, with the ascent of Reason and Judgement (Proportion) some of the poetic qualities of English literature disappeared. The reason was dominant in the Neo-Classical period that emphasized correctness of rules and regulations. The writers of the age turned to the writers of ancient Greece and Rome. The imitative work of the new school was of a frigid and limited quality. Pope wrote: Those rules of old discovered, not devised, Are nature still, but Nature methodized. The precept follow nature was the very centre of the Neo-Classical creed. To the writers of the age Nature meant human nature. They were more interested in human nature than mountains, forests, streams etc. They were interested in men and manners of society. They cared more for manner than matter. They sought to paint realistic pictures of a corrupt court and society. They emphasized vices rather than virtues. Later this tendency to realism became more wholesome. It led to a keener study of the practical motives which govern human action. It focused on social events and controversies of the day in their works. Dryden s Absalom and Achitophel and Pope s Rape of the Lock are based on an actual incident in London society. In short, Neo-Classical writers wrote about kings and princes, lords and ladies, current fashions, fads, and controversies of the day. The Neo-Classical Age was essentially an Age of Reason and Good Sense and of prose. The emphasis was laid on correctness, reason and good sense. The writer should follow the rules correctly, and any exuberance of fancy or emotion must be controlled by reason or sense. A balance must be maintained between Fancy and Judgement. The head must predominate over the heart. The need of inspiration was recognized but it was to be held in check by reason and good sense. Moderation was the golden rule in life and in literature. The Rational opposed extravagant or imaginary. 25
Judging and condemning gave birth to the spirit of satire. As a result the Restoration Age became the age of satire. It was a period of bitter political and personal contention, of easy morals and subdued enthusiasm, of sharp wit and acute discrimination. For these reasons satire acquired a new importance and sharper edge. Satire in this period attacked the old religion of Puritanism, false spiritual authorities. With this age the old poetical spirits of oppositions sprang up giving rise to political satires. We will consider satire in detail later on. Reason was very important in the Neo-Classical era. The emphasis in this era was on formal finish and perfection rather than on content. Originality and perfection in respect of content was not possible because the universal truths were limited. In this age, the didactic function was considered more important than the aesthetic one. Much thought was given to the style and diction of poetry. Virgil was held out as the ideal to impart dignity and elevation to the diction. Common words were avoided. The use of compound words and epithets was also frequent for this very reason. As a result, there was the rise of the artificial poetic diction that Wordsworth condemned in his Preface. Judgement of the writers of this period was different. They avoided the technical words of arts and sciences, attention to minute details and use of far-fetched imagery and conceits. They emphasized the need of decorum. It was recognized that different kinds of poetry have different styles proper to them. For example, the diction proper to satiric poetry would be improper for the epic, and a poet must use the style proper to the genre in which he was writing. There was not only difference between the diction of prose and poetry but also a difference between the diction of different kinds of poetry. The heroic measure was considered as the right measure for poetry. Literature of this period differs from the earlier Elizabethan Age in three respects versification, diction and subject matter. The striking feature of the poetry of Dryden and Pope was its external character and its limited range of subjects. Hence, this period became the period of reason and judgement. Pope was the well-known poet as well as critic who flourished in the Neo-classical age. He was against those critics who considered only the diction, style or verse apart from the sense. He warned the critic against judging by parts rather than by whole. He was also against those critics who attached undue value to the false brilliance of flashy conceits. He condemned judgements based on popular notions and without a proper understanding of the work itself. He also condemned extreme fastidiousness in criticism: 26